Utilising the theme of a bar we will create interventions and encounters within the gallery. Like Manet’s barmaid, Grayson will be at the centre of a night of merriment and convivial conversation.

At ‘Grayson’s Bar’, Perry could work with the assembled crowd and draw together thoughts about a contemporary version of the painting – creating a collaborative new picture of modern life in London in 2014.

Vote online or pop into the gallery and cast your vote at admissions. The public vote runs from 11am on Tuesday 14 January to 5pm on Tuesday 28 January.

In this occasional series we ask Courtauld staff to tell us about their favourite painting in the collection.

My favourite painting is Heinrich Campendonk’s The Dream.

I have to admit that I know next to nothing about art.

I had never even heard of an artist called Campendonk before I started working at The Courtauld Gallery in November 2012.

I’ve had to learn the basics quite quickly (i.e. who were the Impressionists? What is Fauvism? I told you, I knew nothing!) but I am reassured by telling myself that I wasn’t hired for my knowledge of art history – The Courtauld Gallery already has plenty of experts in that area!

The only reason I even noticed this work was because one day I received an enquiry from a visitor who had seen a painting in the Gallery and could remember neither the title nor the artist, but wanted to find out more about the work.

I often receive correspondence of this nature and have to use all my powers of deduction to identify the painting.

This particular visitor offered me the name “Chomperdomp”.

I had never heard of this particular artist – but obviously with my limited knowledge of German modernist artists that didn’t necessarily mean that Chomperdomp didn’t exist.

After asking the curators to play ‘guess the artist’, I was able to identify him as Campendonk and the work as The Dream.

I located it in the Gallery and spent some time looking at the work for the first time. It really is very beautiful and colourful. I love the geometric shapes and the fact that the cat has a moustache. I’m afraid that is the limit of my insight into this work.

I’ve since found out that Campendonk was classed as a ‘degenerate’ artist by the Nazis and that a lot of his work was destroyed. This makes me want to learn more about the artist and the Blue Rider Group that he was part of.